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Canadian alt-rock band The Beaches delve into the complexities of messy relationships, queer heartbreak, and the nights out that intertwine them on their highly anticipated third album, No Hard Feelings. Over 11 tracks, the band presents their distinctive fusion of raw, heartfelt lyrics and unapologetic energy, cementing their position as a leading force in alt-rock today. This album is a journey through the highs, the lows, and the real, a soundtrack for every reason you might find yourself on the dance floor. Whether you're celebrating or seeking solace, know that The Beaches are right there with you, long after the party has ended.

The album kicks off with the infectious and compelling punk-rock anthem "Can I Call You in the Morning?" With catchy guitar riffs that pay homage to the band's new-wave influences, lead vocalist and bassist Jordan Miller immediately draws you in, expressing explosive lines like, "I hate your boyfriends/ I hate your girlfriends/ I hate you boyfriend's girlfriends. "She captures the way we often lash out at those closest to us, only to regret our actions, offering a raw portrayal of self-destruction that strikes a chord with anyone who has ever hidden their pain behind a façade of "I'm fine." It's a song that embodies the struggle with mental health and its impact on relationships.

"Did I Say Too Much" continues to explore the theme of strained relationships. Led by Eliza Enman-McDaniel's lively percussion and the bright guitar riffs work of Kylie Miller and Leandra Earl, Jordan Miller sings with longing, "Even in the breakup, you can't make your mind up," highlighting the pain that another person's indecisiveness can cause. They transform post-breakup confusion into something bold and cathartic, promising to bring a smile to your face, even as it addresses the way we often reveal our true selves to those who may not appreciate our honesty.

The record switches things up on the previously unreleased "Sorry For Your Loss." It's a healing anthem that gives the collection a dose of strength, serving as a powerful reminder of self-worth. The punchy drums, combined with the fast-paced guitar riff, lend the track a sense of resilience, serving as a twist on the breakup song, with Miller showcasing a dynamic vocal range in the process. She sings, "Send my deepest sympathies/ Really shit the bed with me/ Had to cut you off/I'm so sorry for your loss," making it one of the most provocative works on the release.

Other standout tracks include the self-assured "I Wore You Better," the "death by comparison" "Jocelyn," and the bouncy guitar-driven "Touch Myself." While the latter is a heartbreaking addition about the one that got away, the former is about the one who did you wrong. It's raw, boasting biting lyrics like " You fucked me, girl, just to try it/ And led me on 'cause you liked it/ You fucked me, girl, yes, you lied when/ You told me I'm the one you'd end up with" and a high-octane guitar solo that electrifies the song, fueling it with emotion that makes you want to press play over and over again.

The album's finale, "Last Girls At The Party," flips our world upside down, ending things with a rush of jovial camaraderie and bright guitar lines. The hook shines and sparkles with buoyant guitar riffs, dance-inducing bass grooves, and percussion. Meanwhile, the lyrics rarely shy away from bittersweet truths, such as heartache and self-doubt, but The Beaches make them feel defiant rather than downtrodden. This balance between bite and vulnerability is the album's greatest strength. It's a reminder to all listeners that even if shit gets messy and you feel your worst, there are still so many things to raise a glass to.